One More Cup of Coffee

 
 

Your breath is sweet
Your eyes are like two jewels in the sky
Your back is straight, your hair is smooth
On the pillow where you lie

But I don’t sense affection
No gratitude or love
Your loyalty is not to me
But to the stars above

 
 

 
 

One more cup of coffee for the road
One more cup of coffee ‘fore I go
To the valley below

Your daddy, he’s an outlaw
And a wanderer by trade
He’ll teach you how to pick and choose
And how to throw the blade

He oversees his kingdom
So no stranger does intrude
His voice, it trembles as he calls out
For another plate of food

 
 

 
 

One more cup of coffee for the road
One more cup of coffee ‘fore I go
To the valley below

Your sister sees the future
Like your mama and yourself
You’ve never learned to read or write
There’s no books upon your shelf

 
 

 
 

And your pleasure knows no limits
Your voice is like a meadowlark
But your heart is like an ocean
Mysterious and dark

One more cup of coffee for the road
One more cup of coffee ‘fore I go
To the valley below

 

Bob Dylan
Desire (1976)
Track 4

 
 

One More Cup of Coffee tells the tale of a girl whose family are gypsies and drifters, and of the man who must leave her to enter the “valley below”. The narrator describes a character who is beautiful. The song deals with themes of abandonment; the apparent end of a relationship and the concept of a coming journey. The song could be seen as a metaphor for Dylan’s relationship with Sara, however, this is unsubstantiated. The song is also thought to have been inspired by a visit Dylan made to Saintes-Maries-de-la-Mer in Provence, France, where there is an annual gathering of Romany people who venerate Saint Sarah the Egyptian. This would seem to point to another link to Sara Dylan.

The song is a duet between Dylan and Emmylou Harris; as an incidental to its use of the natural minor scale it has a decidedly Middle Eastern flavor in the vocal melody. It was covered by The White Stripes on their eponymous debut album. Furthermore there is a version by Roger McGuinn and Calexico for the 2007 film I’m Not There (Todd Haynes, 2007). Calexico also perform the song at their concerts. Robert Plant covered the song in his 2002 album Dreamland.

To watch the version performed by The White Stripes, please check out The Genealogy of Style’s Facebok page: https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228?ref=hl

Kind of Twisted and Memorable Characters

Illustration by John Tenniel

 
 

Tweedledum and Tweedledee are fictional characters in an English nursery rhyme and in Lewis Carroll‘s Through the Looking-Glass, and What Alice Found There (1871). Their names may have originally come from an epigram written by poet John Byrom. The nursery rhyme has a Roud Folk Song Index number of 19800. The names have since become synonymous in western popular culture slang for any two people who look and act in identical ways, generally in a derogatory context.

Carroll, having introduced two fat little men named Tweedledum and Tweedledee, quotes the nursery rhyme, which the two brothers then go on to enact. They agree to have a battle, but never have one. When they see a monstrous black crow swooping down, they take to their heels. The Tweedle brothers never contradict each other, even when one of them, according to the rhyme, “agrees to have a battle”. Rather, they complement each other’s words. This fact has led Tenniel to assume that they are twins, and Martin Gardner goes so far as to claim that Carroll intended them to be enantiomorphs — three-dimensional mirror images. Evidence for these assumptions cannot be found in any of Lewis Carroll’s writings.

The words “Tweedle-dum and Tweedle-dee” make their first appearance in print in “one of the most celebrated and most frequently quoted (and sometimes misquoted) epigrams”, satirising the disagreements between George Frideric Händel and Giovanni Bononcini, written by John Byrom (1692–1763):

Some say, compar’d to Bononcini
That Mynheer Handel’s but a Ninny
Others aver, that he to Handel
Is scarcely fit to hold a Candle
Strange all this Difference should be’
Twixt Tweedle-dum and Tweedle-dee!

Although Byrom is clearly the author of the epigram, the last two lines have also been attributed to Jonathan Swift and Alexander Pope. While the familiar form of the rhyme was not printed until around 1805, when it appeared in Original Ditties for the Nursery, it is possible that Byrom was drawing on an existing rhyme.

 
 

Tweedle Dee and Tweedle Dum features as the opening song on Bob Dylan‘s 2001 album Love and Theft.

 
 

The track includes many references to parades in Mardi Gras in New Orleans, where participants are masked, and “determined to go all the way” of the parade route, in spite of being intoxicated. “It rolls in like a storm, drums galloping over the horizon into ear shot, guitar riffs slicing with terse dexterity while a tale about a pair of vagabonds unfolds,” writes Kot. “It ends in death, and sets the stage for an album populated by rogues, con men, outcasts, gamblers, gunfighters and desperados, many of them with nothing to lose, some of them out of their minds, all of them quintessentially American.

They’re the kind of twisted, instantly memorable characters one meets in John Ford‘s westerns, Jack Kerouac‘s road novels, but, most of all, in the blues and country songs of the 1920s, ’30s and ’40s. This is a tour of American music—jump blues, slow blues, rockabilly, Tin Pan Alley ballads, Country Swing—that evokes the sprawl, fatalism and subversive humor of Dylan’s sacred text, Harry Smith’s Anthology of American Folk Music, the pre-rock voicings of Hank Williams, Charley Patton and Johnnie Ray, among others, and the ultradry humor of Groucho Marx.